To the Estridentista poet Manuel Maples Arce, the generation of young painters represents the most serious effort in the history of Mexican painting. He considers this group strong and homogeneous in its aesthetic principles and bound by spiritual affinities. Although each one is essentially different based on their individual temperament and character, as a group, they represent a broad spectrum of young Mexican painters. Maples Arce believes this group of artists to be robust and generous with their new designs. They may be characterized by the sincerity of their almost literal rendition of color, based on the emotional concept that is a hallmark of their works. He notes that other painters who hold the same artistic values are well-known artists such as Diego Rivera, Ángel Zárraga, and Saturnino Herrán. However, this only strengthens his theory, because such artists also arose from individual, rather than collective energy; thus, their origins were similar to those of the younger painters. And while he is making that statement, he feels he must raise the issue of the negative art criticism in circulation. In his opinion, such criticism is sentimental or based on friendship; some people are incapable of accepting new artistic trends. In fact, the poet alludes to painters who are exclusively involved with academic problems; this can only lead to paintings still tied to the melancholy rites of nineteenth-century Spanish painting. Maples Arce points out that it took the arrival of Alfredo Ramos Martínez to wake Mexicans up to their true artistic development. He is the one who imported the modern European trends, slightly modified by the medium and harmonized with Mexico’s own spiritual needs. These are the source of a sincere art, art that fits in with the innovative trends of the times as well as being Mexican; this does not mean painting cacti or giving the works archaeological underpinnings. Within the group of young painters led by Ramos Martínez, the Estridentista writer makes special mention of Bolaños, Fermín Revueltas, Fernando Leal, Rufino Tamayo, and Leopoldo Méndez, among others. Maples Arce offers comments about the production done by Bolaños and Leal, whom he considers the strongest personalities. After these comments, he issues value judgments on the artwork of Revueltas, Méndez, Tamayo, Francisco Díaz de León, and Ugarte. Finally, Maples Arce notes that he is unfamiliar with the pictorial work of Ramón Alva de la Canal and has surely omitted the names of other excellent painters, also worthy of being included in this article. He blames this situation on the critics who have been disregarding the young artists.